By Alan Gillis
The Thirties have by no means particularly been thought of an epoch inside Irish literature, although the Thirties shape essentially the most dominant and engaging contexts in sleek British literature. This publication argues that in this time Irish poets confronted as much as political pressures and aesthetic dilemmas which regularly overlapped with these linked to "The Auden Generation." In so doing, it deals a provocative intercession into Irish background. yet greater than this, it deals robust arguments concerning the method poetry quite often is interpreted and understood. during this means, Gillis seeks to redefine our figuring out of an often ignored interval and to problem bought notions of either Irish literature and poetic modernism. Irish Poetry of the Nineteen Thirties supplies designated and important readings of the foremost Irish poets of the last decade, together with unique and fascinating analyses of Samuel Beckett, Patrick Kavanagh, Louis MacNeice, and W. B. Yeats.
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34. Ibid. 33. 36 33 Ibid. 35. 37 MacNeice’s jingles pull towards modernity’s attractive hedonism in the very act of preaching against it. ‘A’ and ‘B’ are like addicts losing the Wght against their addiction’s sensual rapture. But, simultaneously, ‘An Eclogue for Christmas’ is where MacNeice begins to set creative excitation up against ethical commitment. Edna Longley writes that MacNeice, contra Eliot, ‘remains humanistically absorbed by everyday life’, and that the ‘dialectic of ‘‘An Eclogue for Christmas’’ veers between 1920s fatalism .
77 In this stanza, the sky’s movement from 74 75 76 77 ‘Snow’, Collected Poems, 30. MacNeice, The Poetry of W. B. Yeats, 18. Collected Poems, 18. Longley, Louis MacNeice: A Study, 48. Irish Poetry of the 1930s 46 ‘plum’ to ‘duck’s egg’ to being ‘barred’ by Zeppelins makes it seem that the organic has given birth to machine, while it blots the English sky with German menace.
33. 36 33 Ibid. 35. 37 MacNeice’s jingles pull towards modernity’s attractive hedonism in the very act of preaching against it. ‘A’ and ‘B’ are like addicts losing the Wght against their addiction’s sensual rapture. But, simultaneously, ‘An Eclogue for Christmas’ is where MacNeice begins to set creative excitation up against ethical commitment. Edna Longley writes that MacNeice, contra Eliot, ‘remains humanistically absorbed by everyday life’, and that the ‘dialectic of ‘‘An Eclogue for Christmas’’ veers between 1920s fatalism .
Irish Poetry of the 1930s by Alan Gillis